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1.
In fine arts, contemporary artists seek to showcase their artistic skills and concepts. There is very little awareness by most artists on the quality of materials they use in art production and the conservation needs of contemporary artworks which pose conservation challenges as materials used and the physical quality of artworks produced are secondary to what the artists seek to express. Of prime interest to them is the expression of concepts through various genres of art creation. However, the quality of material used by most artists is largely affected by their financial situation and inadequate knowledge on the durability of such materials. Artworks created using recycled materials such as found objects and cheap materials like poor quality paint on paintings, low grade paper in artworks, or poor quality wood present conservation challenges to professionals in galleries. The end product are artworks made from composite materials, some stable and unstable. Thus professionals are faced with a dilemma to reconcile the conservation needs of these artworks and the artists’ expression of their concepts. Moreover, in the absence of remedial conservation measures, artworks are prone to deterioration. This is worsened by dwindling donor and government funding which negatively impacts on the gallery's capacity to conserve the art. Additionally, conceptual expression, artistic creativity, and commercialisation of the art are of priority over conservation. Therefore there is need to maintain a balance between the need to express concepts and commercialise the art on one hand and to conserve the contemporary artworks on the other hand. 相似文献
2.
ABSTRACTIt has been widely acknowledged that reinstallations and re-executions of contemporary artworks substantially rely on available documentation. Especially for installations and performances it is crucial to record the artist’s intent, past iterations, and tacit knowledge involved in staging the artwork. The growing presence of contemporary artworks in museum collections increases the importance of documentation as a central focus of collection care. However, collections management systems have limitations in adequately presenting these often rich forms of documentation. Consequently, documentation required for presenting a specific complex artwork is often dispersed across multiple systems, drives, and dossiers inside various departments. In recent years, several initiatives responded to these challenges by implementing a digital platform supporting the conservation of contemporary art. Collaborative networked software such as wiki came into focus as a prominent choice for managing the related documentation. The wiki promises to integrate diverse material in one place and accommodate much-needed requirements such as multiple iterations of an artwork, relations between its elements, and multimedia content. This paper takes the case of San Francisco Museum of Modern Art (SFMOMA)’s experimental use of MediaWiki to determine whether and under what conditions a wiki is capable of supporting collection care sufficiently in terms of documenting time-based media art. The case further illustrates the consequence of adopting a content management system as knowledge base for conservation. While collections management systems are designed primarily to handle objects using forms, wikis are publishing platforms in the first place and provide a different kind of framework for artwork records. They are designed to employ text and media to compose articles. We propose to conceptualise this consequential role of conservator as a manager of content, an editor. 相似文献
3.
When dealing with contemporary art, conservators have to address not only the material aspects of the artwork but also other highly complex issues. The Argentinian artist Leon Ferrari is a representative example. He created avant-garde art installations but also worked with traditional techniques. His works raise dilemmas over concepts such as authorship, authenticity, legitimacy of art. Some of his artworks only interested him as a means to express his opinions and he was not concerned about alterations in their appearance. Therefore, what should be kept in them is not in an area of certainty for conservators. An essential key for achieving a responsible and respectful conservation result, is to understand the ideology involved in each ‘art piece’ created by Ferrari. 相似文献
4.
A wooden summer house in Szumin, built between 1969 and 1970, is a spatial manifesto for the Open Form — a theory formulated by Polish architect, artist, and educator Oskar Hansen (1922–05). Oriented towards participation, process, and change in the hierarchy between the architect and the user, or the artist and the spectator, Hansen's theory formed a strong conceptual basis for his architectural, artistic, and pedagogical practice. Being a faithful expression of these ideas, the house is a spatio-temporal, transitional object, defined by constant adaptation to the changing needs of its users. In 2014 the property came into the custody of the Museum of Modern Art in Warsaw, Poland. A conservation strategy was developed to preserve both the idea and the physical aspect of the site. With its dominance of concept and artist's intent, this house has a stronger resemblance with a work of art than with built heritage. Therefore, the procedures developed for the conservation of contemporary artworks have been applied. These tools help to evaluate the range of necessary interventions and to set up a conservation programme. 相似文献
5.
Kate Moomaw 《文物保护研究》2016,61(3):130-136
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making. 相似文献
6.
Stavroula Golfomitsou 《文物保护研究》2016,61(3):55-60
In recent years Qatar has invested a significant sum of money on exhibitions of contemporary artists and public art. This paper discusses decision-making processes in the conservation of contemporary artworks installed in newly emerging art markets such as Qatar, where there are no established practices. In 2014, Richard Serra's East–West/West–East, an installation of four vertical plates made of weathering (Corten?) steel, which span one kilometre at heights so as to reach the level of the surrounding gypsum plateaus, was installed in the Brouq Nature Reserve near Zekreet desert, two kilometres from the sea in the western part of Qatar. The artwork is already considered by some a landmark for the isolated area. The plates have started to develop protective corrosion layers, although Corten? is not completely corrosion resistant when located near coastal sites. They have also started to bend and are heavily inscribed by visitors. Conservation of public art is complex, as site-specific artworks are linked with the landscape and defined by the relationships they develop with the public. Art installations of this magnitude demand not only conservation measures but also a management plan. The isolated location, the scale of the artwork, the aggressive environment, and the lack of supervision and monitoring of the area challenge current practices but offer an opportunity to develop methods to preserve art of site-specific art in new environments and diverse audiences. Monitoring will allow a better understanding of the interactions of visitors with the artwork and will shed light on the material's behaviour in this specific environment. 相似文献
7.
Yvonne Shashoua 《文物保护研究》2016,61(3):208-213
Analysis suggests that progress in conservation of plastics objects and artworks can be described by a series of overlapping mesocycles. Focus has been placed for periods of 5–10 years each on determining the degradation pathways in the 1990s, developing strategies to inhibit those pathways from the late 1990s and, since 2006 on actively stabilizing and treating the symptoms of degradation. The primary driving forces behind the direction and rate of progress within each of these three mesocycles have been different and specific. The controlling factor in understanding degradation pathways for heritage plastics has been the origin of the data describing lifetimes. By contrast, mesocycles in developing suitable storage and display microclimates for plastics have mirrored preventive conservation practices for natural polymeric materials. The rate of the third mesocycle, interventive conservation, has been driven by the need to balance the requirements for reversibility in conservation practices with the artist's intent and significance. Developments within each of the three mesocycles from the 1990s to date are discussed in this article. Environmental science and toxicology of waste plastics offer a novel source of information about real time degradation in terrestrial and marine microenvironments that seems likely to contribute to the conservation of similar materials in contemporary artworks. 相似文献
8.
Lydia Beerkens 《文物保护研究》2016,61(3):12-16
Conservation of modern art has in the last 20 years developed from a singular case-by-case approach into a full and independent specialization in conservation with its own strategy, theory, and ethics. The methods applied today are both newly developed and partly a continuation of traditional conservation standards. New is the special focus on the artist and his intent, and on the defining of the various artistic concepts, as these elements and the artist as a stakeholder, play decisive roles in decision-making on optional treatment interventions. Challenging new materials (plastics, light, food, kinetic art, or re-used objects) require ongoing research to formulate specific instructions, and special designed guidelines for conservation, putting a new perspective on collections care. As contemporary art may be produced by the artist, by assistants or industry, and can be made of artists' materials, anything from the hardware store, re-used or reworked objects or intangible elements, the reassessing of definitions on authenticity and originality eventually lead to the reformulation of standard rules on retouching, reversibility and in particular reconstruction. Thus new conservation strategies have been designed for various types of contemporary art, where applicable built from old standards. 相似文献
9.
Renata F. Peters 《文物保护研究》2016,61(3):183-187
This paper uses a range of case studies from contemporary art and indigenous collections to explore synergies between the disciplines and pose questions about contemporary perceptions of condition and durability. The idea that value is only connected to original material or specific perceptions of condition has been challenged repeatedly by the very makers and primary users of these collections. Nevertheless, old expectations in relation to collections may still affect conservation processes. The conservator is positioned at the center of these tensions, trying to understand, negotiate and mediate the interests and values of dynamic layers of significance associated with the object being treated. Attempting to homogenize or generalize these relationships would directly affect the complexity of the meanings of the artworks and run the risk of hollowing them. 相似文献
10.
Sherri Irvin Author Vitae 《Museum Management and Curatorship》2006,21(2):143-156
In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. 相似文献
11.
While working together on tradition-based and contemporary works at the Smithsonian's National Museum of African Art (NMAfA) and in private practice, the authors found that their expertise in ethnographic conservation can be applied to the conservation of contemporary works. The treatment approach to ethnographic works has evolved over decades, shifting from alteration of original surfaces and heavy restoration to an emphasis on preserving the original integrity of the artwork through minimal intervention. This paper describes the evolution of ethnographic object conservation regarding surface alteration, while specifically focusing on African objects, and discusses applications of this approach to the conservation of contemporary art. The historical change in treatment attitudes is presented using examples from NMAfA's collections to underscore why the profession developed a minimal intervention approach and to argue for the relevance of this approach to related contemporary media. 相似文献
12.
Anna Henningsson 《文物保护研究》2018,63(5):113-120
ABSTRACTDuring construction of a 6 km long railway tunnel close to historic churches in Stockholm, a preventive monitoring model was applied for ensembles of large-scale immovable ecclesiastical artworks. Construction work such as blasting and pile-driving took place during five years under or very close to these immovable works of art. In Sweden, risk assessment related to construction work is focused on risks associated with the building; meanwhile, there is no common approach for protecting the immovable historic works of art and architectural surfaces. This paper discusses how a preventive model for vibration monitoring on immovable artworks was developed and used as well as how the preventive purpose was perceived by different stakeholders during and after the tunnelling work. Experience from this project concludes that monitoring that includes uniform visual inspection becomes crucial for being able to protect the artworks. The concept of vibrations standards relying on fixed numbers of critical vibrations levels for mitigating the effects of vibration on immovable art can be questioned based on experiences from this project. 相似文献
13.
14.
Rosario Llamas-Pacheco 《文物保护研究》2020,65(8):487-498
ABSTRACT This article analyzes different ontological categories and how they relate to the conservation of contemporary art. Faced with the necessity of apprehending the work of art from an ontological point of view, a theoretical approach is made on the concepts that most affect the conservation of contemporary art: quiddity, truth-authenticity, identity, quality, consistency, and interpretation. These are analyzed from an empirical perspective, based on the experience of conservation and restoration. Since conserving and restoring require making decisions that will affect the material and conceptual plane of the works, several possible paradigms that must be introduced into the deontological code of the profession are analyzed. In addition, the study of a new paradigm is provided, that of the death of the work of art. This paradigm can serve as a frame of reference, given the impossibility of bringing the ‘Truth’ of the artwork into the world of the sensitive. This may occur due to different conditioning factors and limitations of a material, technical, or intentional type, which affect issues that were once established as essential to the entity. On the other hand, different types of time that are related to the conservation of contemporary art are studied: biological time, the eternal present of the work, time as a constructor agent, and destructive time as a facilitator of the appearance of ruin or ruin-relic in the work of art. 相似文献
15.
This paper discusses issues surrounding the conservation of contemporary art within the private sector using a real example, a freestanding hinged and lacquered screen. The artwork developed severe damage whilst on display in a private collection when a section of the lacquer cracked and delaminated from the bottom of one of the panels, taking paint with it. This significantly compromised its pristine appearance, and preliminary observations suggested that restoration using traditional consolidation, retouching and varnishing techniques was highly unlikely to be successful. Initial contact with the artist led to negotiation with the original fabricator's studio. This highlighted the challenges involved in reinstating the badly damaged paint and resin using an approach that would still be acceptable within the code of ethics of the conservation profession, and the potential problems of sharing information with experts who are not conservators. Part painting, part sculpture and part furniture, the screen does not fall into the standard divisions of conservation practice. Its eventual treatment demanded collaboration between specialists in paintings, sculpture, lacquer work, and conservation science. The paper addresses three areas of importance to the conservation of contemporary art: the challenges of working as an interdisciplinary team to deal with complex (and sometimes conflicting) ethical approaches and material requirements; the difficulty in balancing the desire to preserve original materials with the need to produce a pristine result, and the importance of the artist's ratification of conservation to the market value of the work. 相似文献
16.
张广 《自然科学博物馆研究》2023,(1):56-64
动物剥制标本作为自然博物馆、高校博物馆、部分综合性博物馆以及科研机构标本馆的重要收藏对象和展示资源,具有极高的收藏价值、展览价值、艺术价值、科研价值和科普教育价值等,但在长期保藏过程中,因受制作工艺、环境条件、人为活动的影响,极易受到损坏。本文论述了馆藏动物剥制标本的常规管理、保藏环境管理以及预防性保护,旨在为我国自然标本管理,特别是为动物剥制标本的管理和保藏工作提供参考资料。 相似文献
17.
Rosario Llamas-Pacheco 《文物保护研究》2018,63(8):441-449
This article presents the intervention process carried out on a work of art created by artist Yolanda Gutiérrez Acosta, using a series of ephemeral materials such as butterfly wings and agave thorns. The work, an installation from 2002, is entitled ‘Efímeras’ (‘Ephemera’) and consists of 12 flowers mounted on acetate sheets and attached to the same with vinyl acetate copolymers and acrylic acid esters (Mowilith®). These flowers are installed on the floor in a bed of dried flowers. The conservation of contemporary art can lead to some previously unimaginable problems for restorers. Current works of art are somewhat material in nature, but they also have a conceptual dimension that is essential for their artistic interpretation. The artist’s participation in the decision-making process prior to the restoration was quite useful. The passage of time, its effect on the work, and the need to understand the possibility of the demise and destruction of the work were implicit as of the onset of its creation, such that, according to the artist, we are forced to reflect upon the possibilities of its future state. 相似文献
18.
Mariana Pinto 《文物保护研究》2013,58(7):381-386
ABSTRACTDuring the nineteenth century, chemists became increasingly engaged in the conservation treatment of polychrome surfaces. While collaborations between chemists and museum workers in charge of easel painting collections were mostly oriented towards the improvement of conservation practices, the involvement of chemists in the nascent field of archaeology was oriented towards material characterization, such as pigment analysis of polychrome surfaces. Since this type of analysis is destructive and damages the artwork, it could, therefore, be assumed that chemists were in these cases less concerned with the conservation of objects with an archaeological and historical provenance. On the contrary, my new reading of nineteenth-century English primary sources reporting pigment analysis shows that chemists also had ethical concerns about the physical integrity of archaeological objects and their conservation. This is apparent in the process in which paint samples were taken from the artworks for their subsequent analysis. 相似文献
19.
《文物保护研究》2013,58(3):245-255
AbstractThe Minimalist work of Donald Judd exemplifies modern and contemporary works of art that utilize the appearance of bare metal as an integral component of the artist's intent. Decades after fabrication, disfiguring patterns have appeared on the surfaces of many such works. These patterns are not related to the formation of tarnish or other corrosion effects caused by improper storage, display, or transportation and handling; rather, they are associated with the initial processing of the metal sheets and subsequent fabrication of the art objects. Due to the challenges of obtaining analytical data directly from works of art, the authors present results from industrial sheet metal coupons prepared to simulate materials and techniques used in Donald Judd's copper and brass artworks. Attenuated total reflectance Fourier transform infrared spectroscopy carried out on each side of 55 coupons indicated the presence of organic materials such as long-chain aliphatic hydrocarbons, esters, and ethers, consistent with the types of compounds used in industrial lubricants. In addition to conducting the first systematic instrumental analysis of these residues, the authors propose the use of specific solvents for their removal as an alternative to abrasive methods, which cause removal of original surface from the objects. 相似文献
20.
Maria Chatzidakis 《文物保护研究》2016,61(3):17-23
Street art, public murals, and graffiti are forms of contemporary art which flourish in the urban environment. The current socioeconomic and political crisis in Greece has rendered Athens a living city canvas that attracts artists, art lovers, young people, tourists, journalists, and photographers. The conservation of street art in extreme outdoor conditions is a new area of interest for conservation research and practice. Since 2010 the Conservation of Wall Paintings Laboratory of the Department of Conservation of Antiquities and Works of Art (CAWA) of the Technological Educational Institute (TEI), Athens has been engaged in a project to explore ethics, carry out documentation, and initiate new research into street art and its conservation. Since 2012, Street Art Conservators (St.a.co.), a team comprising academics, conservators, and students from CAWA has worked in the streets of Athens for the preservation of street art. The protection and conservation of street art require the creation of a critical mass of people who are interested in the study and preservation of street art, co-operative conservation work and research, and the documentation and digital mapping of street art as an alternative means for its preservation. 相似文献